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Ok SeS here are my two cents. This narrative text you highlighted wherein no apparent heroics or theatrics are taking place interests me in many diverse but related ways.
Firstly, for the stamp my own imagination puts upon it. Tolkien gives us much but also is legendary for leaving room in the narrative for the reader's own vision and interpretation. His descriptions are so thoughtful and descriptive they evoke a full-fleshed running image in my mind. It is true, one reason I have always been drawn to Tolkien and other English, and UK writers is bc they choose their words so carefully. All, but especially Tolkien bring their poet’s sensibilities, language, rhyme and meter to their not so “ordinary” prose. As a poet I react at a gut level to such sparse but lush writings.
As well, the passage you reference is a sort of invitation. “Come with us,” it encourages the reader. “Join us on the road. We know not what lies ahead, perhaps injury and danger. But under our feet and before us lies the road, the road!” (a familiar theme in Tolkien's writings)
Within the passage we also bear witness to the influence and legend of Tolkien's own, The Silmarillion. Just as we are harkened ahead to the road we too are harkened to look back at what has come before. Of the interplay within the environment as backdrop of the past and present. Strider knows much of legend we are told and that speaks to his knowledge of what may await the company. If Strider fears the dark things who are we not to?
Just as importantly to me (I'm with Rilien here) is the magic of the words in combination. The Brits (Dickens, Tolkien, Trollope) Welsh (Thomas, Dahl, Russell), Scots (Scott, Burns, Stevenson) and Irish (Wilde, Joyce, Yeats) have such a magical touch, an innate ability to conjure up something from literally nothing. The words take on a life of their own in sound and cadence so similar to verse as I read but especially recite them.
From The Tale of Beren and Lúthien:
There Beren came from mountains cold, And lost he wandered under leaves, And where the Elven-river rolled He walked alone and sorrowing. He peered between the hemlock-leaves And saw in wonder flowers of gold Upon her mantle and her sleeves, And her hair like shadow following.
Magic!
From Yeats’s, Easter 1916):
The horse that comes from the road,
The rider, the birds that range
From cloud to tumbling cloud,
Minute by minute they change;
...
A horse-hoof slides on the brim,
And a horse plashes within it;
The long-legged moor-hens dive,
And hens to moor-cocks call;
Minute by minute they live:
The stone's in the midst of all.
and,
Too long a sacrifice
Can make a stone of the heart.
O when may it suffice?
That is Heaven's part, our part
To murmur name upon name,
As a mother names her child
When sleep at last has come
On limbs that had run wild.
Ofc, it is poetry so we draw near with a different expectation but in the finality of it, it is the words, the words that come twisting and tumbling over one another, off the tongue like the musical sound of water spilling over rocks in the highland that bring such thrill.
And though the poem is a lament the language is so rich I as a reader cannot help but be enamored of it momentarily losing sight of the poems purpose. So this style of writing can present thrills but not also without reactions opposite to its cause.
Sorry SeS, had to squeeze those in but merely as examples to justify my point. Peace…
I'm not going to try to figure out SES, I gave up on that many years ago. LOLYou certainly know how to keep us busy, Squint-eyed Southerner! Small wonder your eyes are getting a bit squint!
I'm not going to try to figure out SES, I gave up on that many years ago. LOL
The loss in English of a differentiation between formal and familiar speech posed a difficult problem, which Tolkien admitted he could not solve satisfactorily.
The "normal" usage of you, for instance, in Gondor and Rohan generally represents formal, or as Tolkien calls it, "deferential" usage, which is one reason why the people of Gondor thought Pippin must be "of very high lineage": Hobbits, being avatars of Edwardian English country people, had also lost the formal language, so Pippin used the, to him, natural familiar forms -- even with the Steward. This goes unremarked in the main text, I suppose because of the difficulty of working it in without a long excursus.
The problem must have been vexing, since Tolkien had to use the limitations of English to represent, not only formal and familiar language, but "ceremonious" forms as well. It's worth reproducing his note on this:
In one or two places an attempt has been made to hint at these distinctions by an inconsistent use of "thou". Since this pronoun is now unusual and archaic it is employed mainly to represent the use of ceremonious language; but a change from "you" to "thou, thee" is sometimes meant to show, there being no other means of doing so, a significant change from the deferential, or between men and women normal, forms to the familiar.
I underlined parts of this because I believe the speech by Eowyn to be one of these instances: up to this point, she and Aragorn have been using "correct" forms, when addressing one another; it is only at the end of their exchange, when she is about to "vanish into the night" that she breaks this protocol, switching to the familiar form, which I assume would be "normal" only between siblings, married people, and lovers. I think she is subtly making a declaration.
She continues the same usage the next day, and openly. It is notable that Aragorn at no point departs from formal language:
'Farewell, Lady of Rohan! I drink to the fortune of your House, and of you, and of all your people. Say to your brother: beyond the shadows we may meet again!'
But she said: 'Aragorn, wilt thou go?'
'I will,' he said.
'Then wilt thou not let me ride with this company, as I have asked?'
'I will not, lady,' he said. 'For that I could not grant without leave of the king and of your brother. . .'
Then she fell on her knees, saying: 'I beg thee!'
Apart from her desire to accompany Aragorn on what, to her and the Rohirrim, was a journey to certain death, she must have hoped that he would at least bend enough to reply in the same familiar language; that would show a similar feeling on his side. But this he refuses do do, or even acknowledge, though he well knows what it means:
Only those who knew him well and were near to him saw the pain that he bore.
That would, to Eowyn, appear deliberately cold and distant; every you and your would be a dagger in her heart. No wonder then that she wept; that she "stood still as a figure carved in stone, her hands clenched at her sides"; that "she turned, stumbling as one that is blind". Aragorn has rejected, not only her plea, but quite clearly her, herself, and her love.
The differences in the language that was used, the more formal or polite versions of it, were not that easy - for me at least - to detect when I first read LoTR in English
Yes, thanks again for the interesting observations.
Unfortunately for English speakers, we have lost, not only formal/familiar forms, but also almost all ability to "reach back" into the past forms of our language. We can grasp King James style (though we miss some meanings), and the same is true of Shakespeare; we can, with some cribs, follow Chaucer's Middle English -- but the Northern version requires study. And Old English is out of reach to all but the dedicated.
So an author is as limited in what he can do to convey archaic modes, as he is with differentiating formal, familiar, and ceremonious forms.
Shippey, who I referred to above, discusses various ways Tolkien went about overcoming these problems. His two books are worth seeking out, for those with an interest in the subject.
…Some attempt has been made to represent these varieties by variations in the kind of English used; but the divergence between the pronunciation and idiom of the Shire and the Westron tongue in the mouths of the Elves or of the high men of Gondor was greater than has been shown in this book. Hobbits indeed spoke for the most part a rustic dialect, whereas in Gondor and Rohan a more antique language was used, more formal and more terse.
One point in the divergence may here be noted, since, though often important, it has proved impossible to represent. The Westron tongue made in the pronouns of the second person (and often also in those of the third) a distinction, independent of number, between “familiar” and “deferential” forms. It was, however, one of the peculiarities of Shire-usage that the deferential forms had gone out of colloquial use. [Alcuin: like modern English] They lingered only among the villagers, especially of the Westfarthing, who used them as endearments. [Alcuin: like modern Quakers and some long-married couples] This was one of the things referred to when people of Gondor spoke of the strangeness of Hobbit-speech. Peregrin Took, for instance, in his first few days in Minas Tirith used the familiar forms to people of all ranks, including the Lord Denethor himself. This may have amused the aged Steward, but it must have astonished his servants. No doubt this free use of the familiar forms helped to spread the popular rumor that Peregrin was a person of very high rank in his own country.
Intonation is first: is the speaker respectful or not? Is he direct or indirect? Direct is generally but not always less respectful: sometimes indirect is less respectful, depending upon context. Context is critical: a compliment in one setting can be used as a rude insult in another. English has grown into a difficult, intricate language precisely because it has lost its Indo-European inflections. Bilbo’s “I know half of you half as well as I would like,” etc, is not only a linguistic puzzle, but also a less-than-subtle commentary on modern English: did that speaker (or writer) just praise you or insult you? If you can’t hear his voice and intonation, it can be extremely difficult, maybe even impossible to tell.It is a mystery for me how you do know whether someone is addressing you with politeness or formally or with any other way. I can't tell if there are any lingual/syntax/grammatical differences, if there are any at all, on the supposed different ways of addressing others in English language.
How do you figure this out? ( this is a serious question. Not a rhetoric one)
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